In 1595, the English Jesuit Robert Southwell wrote â€śThe Burning Babe,â€ť a startling, unsettling poem about the incarnationâ€”which means, given Southwellâ€™s rich theological imagination and deep Catholic piety, that it is also a poem about suffering and salvation. And about the human predilection to resist divine love.
Three hundred seventy-one years later, Denise Levertov penned â€śAdvent 1966,â€ł in which her vision of the â€śBurning Babeâ€ť is not Southwellâ€™s blessed Infant â€śscorched with excessive heatâ€ť (though her poem is replete with references to Southwell) but dying babies in Vietnamâ€”â€ťinfant after infantâ€ť . . . â€śflesh on fireâ€ť . . . â€śmoaning and stinking in hospitals three abed.â€ť
Forty-seven years after Levertovâ€™s startling, unsettling poem, its indictment of the human predilection for violence is as timely as ever. Napalm has long been superceded in modern warfare, most recently by the surgical precision of drone strikes, but the incinerated dead are just as dead.
Some say poetry as raw political commentary is a bad idea. Indeed, Levertovâ€™s friend and longtime correspondent, poet Robert Duncan, excoriated her political turn, insisting that the poetâ€™s job is â€śnot to oppose evil but to imagine it.â€ť Yet Levertovâ€™s work in the Vietnam era was as much personal as political. In â€śAdvent 1966,â€ť the subtext is the speakerâ€™s visionâ€”the increasing lack and loss of it: â€śThere is a cataract filming over my inner eyes.â€ť
This is the poetry of conviction, of wrestling with human failure and frailty in ways large and small. It is the poetry of despairâ€”a refusal to make a leap toward hope that would put a tidy finish on the senseless and catastrophic.
It is fitting that Levertov locates her outrage, personally and politically, in Adventâ€”whether or not something particular in December of 1966 occasioned the poem. In Advent, we are mindful of despairâ€”in parts of the story that shape our Christian convictions and also in our own lives on these long, dark days when the senseless and catastrophic sometimes overtake us.
Writer and Anglican priest Fleming Rutledge points out that â€ťa famous painting of the annunciation in the Cloisters in New York shows the embryonic Jesus slipping down a shaft of sunlight toward Maryâ€”and he is already carrying his cross.â€ť The incarnationâ€”the feast of Nicene dogma, as Rutledge notesâ€”is of a piece with a suffering Christ, a suffering world, a suffering you and me.
In Advent we live with that startling, unsettling truth, refusing to rush toward a tidy finish.
Originally posted at Intersections